Photographs documenting Native American Public Programs events, including images of Native American artists and examples of their work during demonstrations and lectures at the National Museum of Natural History. Photographs were mostly made by Smithsonian photographers, including Carl C. Hansen, Richard Strauss, Chip Clark, Laurie Minor-Penland, Eric Long, Alan Hart, Rick Vargas, Dane Penland, and Christina Taccone. Included are a large number of photographs of Don Tenoso (Hunkpapa), an artist-in-residence at the National Museum of Natural History, and performances by James Luna (Luiseno/Digueno), Guillermo Gomez-Pena (Chicano), and Coco Fusco. Crafts and arts depicted include beadwork, basket weaving, dollmaking, peyote fanmaking, weaving, hand games, quilting, clothing making, leatherwork, woodcarving, saddlemaking, sculpture, painting, story-telling, and performance art. There are also images of Dolores Lewis Garcia and Emma Lewis Garcia (daughters of Acoma potter Lucy M. Lewis) and their pottery, Joallyn Archambault with artists, and the 1990 American Indian Theater Company reception.
Other depicted artists include Maynard White Owl Lavadour (Cayuse/Nez Perce), Evangeline Talshaftewa (Hopi), Lisa Fritzler (Crow), Marian Hanssen, Vanessa Morgan (Kiowa/Pima), Marty Good Bear (Mandan/Hidatsa), Katie Henio and Sarah Adeky (Navajo), Geneva Lofton and Lee Dixon (Luiseno), Chris Devers (Luiseno), Mary Good Bear (Mandan), Robert and Alice Little Man (Kiowa), Lisa Watt (Seneca), Jay McGirt (Creek), Bill Crouse (Seneca), Kevin Johnny-John (Onondaga), Rose Anderson (Pomo), Francys Sherman and Margaret Hill (Mono), Thelene Albert and Annie Bourke (White Mountain Apache), Bob Tenequer (Laguna), Jimmy Abeyeta (Navajo), Lou Ann Reed (Acoma), Melissa Peterson (Makah), Jennifer and Kallie Keams Musial (Navajo), Joyce Growing Thunder-Fogarty and Juanita Fogarty (Assiniboine/Sioux), David Neel (Kwakiutal), Mervin Ringlero (Pima), Jhon Goes-In-Center (Oglala), D. Montour (Delaware/Mohawk), Rikki Francisco (Pima), Annie Antone (Papago), Angie Reano-Owen (Santo Domingo Pueblo), Carol Vigil (Jemez), Gregg Baurland (Miniconjou), Greg Colfax (Makah), Lydia Whirlwind-Soldier (Sicangu Dakota), Martin Red Bear (Oglala), Michael Rogers (Paiute), Alta Rogers (Yurok/Paiute), Dorothy Stanley (Miwok), Lisa Little Chief (Dakota), Tom Haukaas (Sicangu Dakota), Nora Navanjo-Morsie (Santa Clara Tewa), Seneca Women's Singing Society, Molly Blankenship and Martha Ross (Eastern Cherokee), Julia Parker (Miwok/Pomo), Candy and Claudia Cellicion (Zuni), Sally and Lorraine Black (Navajo), Carmen Quinto-Plunkett (Tlingit), Ina McNeil (Hunkpapa), and Ellen and Faye Quandelancy (Zuni), and Rikki Francisco (Pima).
Biographical/Historical note:
Native American Public Programs was founded in 1989 as a part of the Department of Education in the National Museum of Natural History. Under the directorship of Aleta Ringlero, its main activity was the arranging of demonstrations by Native American artists and craftsmen in the exhibition areas of the museum.
Local Call Number(s):
NAA Photo Lot 91-26
Location of Other Archival Materials:
Audio of James Luna's lecture for the Native American Public Programs office held in National Anthropological Archives in MS 7514.
Dolls made by Don Tenoso for the Native American Public Programs office held in Department of Anthropology collections in accession 390905.
Additional photographs of Tenoso held in the Smithsonian Institution Archives in SIA2009-2222 and 90-13726.
Photo Lot 91-26, Native American Public Programs photograph collection relating to Native American artists and art, National Anthropological Archives, Smithsonian Institution
Photographs made as part of Joseph C. Farber's project to document modern NAtive American everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Farber's travels included Alaska (Point Barrow, Dead Horse, Glacier Bay, Haines, Hoona, Hydaberg, Ketchikan, Mount McKinley, Prudhoe Bay, Saxman, and Sitka); Alberta (Blackfeet Reservation); Arizona (Canyon de Chelly, Cocopa Reservation, Flagstaff, Kayenta, Monument Valley, Pima Reservation, Quechan Reservation, Mojave Reservation, and Yuma); California (Alcatraz, Oakland, and San Francisco); Florida (Big Cypress Reservation; Miccosukee Reservation); Minnesota (Minneapolis and Nett Lake); Montana (Northern Cheyenne Reservation); New Mexico (Acoma, Gallup, Navajo Forest, Picuris, Puye, San Ildefonso, Santa Clara, Santa Fe, Taos, San Ildefonso, Santa Clara, and Tesuque); New York (New York City and Onandaga Reservation); North Carolina (Cherokee Reservation); Oklahoma (Anadarko, Apache, Lawton, Stilwell, and Tahlequah); South Dakota (Rosebud and Wounded Knee); and Washington (Lummi Reservation, Nisqually River, Puyallup River, and Quinalt Reservation).
Biographical/Historical note:
Joseph C. Farber (1903-1994) was a successful New York businessman and professional photographer. He studied with Edward Steichen at the New York Camera Club in the 1920s. The prints in this collection resulted from a five-year project that involved travelling to Native communities throughout the United States to document modern Native American life. The project resulted in a book, Native Americans: 500 Years After (1975), as well as exhibits, including one in the National Museum of Natural History in 1976-1977.
Local Call Number(s):
NAA Photo Lot 78-1, NAA ACC 95-3
Location of Other Archival Materials:
Farber's photographs, previously located in Photo Lot 95-3 have been relocated and merged with Photo Lot 78-1. These photographs were also made by Joseph C. Farber and form part of this collection.
The National Museum of American History Archives Center holds the Joseph Farber Papers and Photographs, circa 1962-1990.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Photographs published in Farber's books still under copyright. Reproduction permission from artist's estate.
The records of the Dorothy Weiss Gallery measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). The collection documents the gallery's relationships with approximately three hundred artists, through artist files, exhibition files, and subject files, and is an excellent source of information on the work of contemporary ceramic and glass sculptors.
Scope and Content Note:
The Dorothy Weiss Gallery records measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). Although the collection includes limited records overlapping from Weiss's dealings with some artists through Meyer Breier Weiss Contemporary Crafts, Inc., its primary focus is the activities of the Dorothy Weiss Gallery. The records provide fairly extensive coverage of the gallery's relationship with approximately thirty artists, and scattered documentation of Weiss's relationship with more than two hundred other artists whose work she represented, exhibited, or had an interest in at some time during the gallery's existence. Overall, the collection is an excellent source of information on contemporary ceramic and glass sculpture and includes artist files of correspondence, administrative records, printed matter, and photographic material, as well as exhibition files and subject files.
The bulk of the collection consists of Series 1: Artist Files, which includes correspondence with artists, biographical material, printed material relating to exhibitions at the Dorothy Weiss Gallery and elsewhere, photographs of artwork, and administrative records such as price lists, inventories, and loan and consignment documentation.
Series 2: Exhibition Files contains records of approximately twenty-five group exhibitions held at the gallery, such as the Teapot Invitationals, and various exhibitions of glass artists. Records relating to exhibitions for a single artist's work can be found in Series 1: Artist Files.
Series 3: Subject Files consists of a small group of general subject files maintained by the gallery, such as correspondence with different types of clients, and records relating to specific projects outside the gallery in which Weiss participated.
Arrangement:
The collection is arranged into three series. The basic original arrangement was maintained throughout the collection. Records are generally arranged alphabetically by artist, subject, or exhibition, and then chronologically.
Series 1: Artist Files, circa 1964-2001(boxes 1-18, OV 21; 17.5 linear ft.)
Series 2: Exhibition Files, 1979-1999 (box 19; 0.75 linear ft.)
Series 3: Subject Files, 1983-2000 (boxes 19-20; 0.45 linear ft.)
Historical Note:
Dorothy Weiss founded the Dorothy Weiss Gallery in 1984. From 1977 Weiss had partnered with Sue Meyer and Virginia Breier in Meyer Breier Weiss Contemporary Crafts, Inc. She opened her new gallery in what was to be its permanent location at 256 Sutter Street in downtown San Francisco.
The Dorothy Weiss Gallery was renowned in San Francisco for the quality of its crafts program and the artists it represented. Weiss focused on contemporary ceramic and glass sculpture with an emphasis on non-functional, sculptural work. She also showed some paintings, drawings and monotypes, and her interests in this area expanded, particularly in the mid-1990s, when she began exhibiting works by artists such as Daniel Brice, in addition to showing drawings by artists generally known for their sculpture.
Weiss represented many of the country's most prominent and well-respected artists working in glass, including Hank Murta Adams, Dale Chihuly, Richard Marquis, William Morris, Jay Musler, Clifford Rainey, Italo Scanga, Therman Statom, and James Watkins. Glass exhibitions at the gallery included site-specific installations by artists such as Statom, Adams, and Rainey.
The gallery was also an important venue for contemporary ceramists such as Rudy Autio, Annette Corcoran, Ruth Duckworth, Michael Lucero, Beverly Mayeri, and Robert Turner. Monthly exhibitions were held on the Third floor with the Fourth floor gallery space being reserved for a variety of work by gallery artists. "Teapot Invitationals," and exhibitions of "new glass" featuring teapots and glass sculpture by a variety of artists were held regularly at the gallery.
Weiss was an active participant in the wider art community, hosting collector's groups from around the country and guests during conferences, such as a special Glass Invitational in conjunction with the Glass Art Society Conference in March 1994. As a member of the San Francisco Art Dealers Association (SFADA), Weiss participated in First Thursday, holding opening receptions to new exhibitions on the first Thursday of every month and often accompanying them with artists' talks. She also participated in an annual Introductions show along with other SFADA members, representing younger, emerging artists in the Bay Area and nationwide. In addition, Weiss assisted the American Craft Museum in developing its exhibition programs, and was a Collectors Circle Affiliate for the American Craft Council.
Dorothy Weiss closed the gallery in 2000, retiring at the age of eighty. On October 4 of that year the Museum of Craft and Folk Art in San Francisco opened A Tribute to Dorothy Weiss, an exhibition selected from her own collection.
Provenance:
The collection was donated to the Archives of American Art by Dorothy Weiss in 2002.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Penland School of Handicrafts -- Faculty Search this
Extent:
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 August 9-11
Scope and Contents:
An interview of Tony Natsoulas conducted 2004 August 9-11, by Liza Kirwin, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Sacramento, California.
Natsoulas speaks of growing up in Davis, California.; visiting museums as a child; early memories of working with clay; school art projects; taking art classes at the University of California, Davis while in high school; going to college at Sacramento State College and UC Davis; studying at Maryland Institute College of Art; attending art summer schools such as the Skowhegan School of Painting & Sculpture; making life-sized clay figures; exhibiting his work; making caricature heads of famous people; including humor and nostalgia in his work; how his work has changed during his career; teaching at Penland School of Crafts; being part of the Funk art movement; choosing themes for his figures; his home studio; his working process and materials; the influence of art periodicals; working on public and private commissions; his teaching philosophy; collaborating with artist Fred Babb; influential art exhibitions; his Greek heritage; his friendship with artist Clayton Bailey; his recent solo exhibition at the Crocker Museum; titling and pricing his work; his art collection; and making artist websites. Natsoulas also recalls Robert Arneson, David Gilhooly, Francesco Clemente, Peter Voulkos, Viola Frey, Roy De Forest, and others.
Biographical / Historical:
Tony Natsoulas (1959- ) is a ceramicist from Sacramento, California. Liza Kirwin is the Curator of Manuscripts, Archives of American Art, Washington, D.C.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 hrs., 59 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Ceramicists -- California -- Interviews Search this
The Museum of Craft and Folk Art records measure 28.9 linear feet and 12.48 GB and date from 1970 to 2012. The museum was established in 1982 in San Francisco, California and exhibited local and national craft and folk art collections until it closed in 2012. The collection includes administration records, extensive exhibition files, artists' files, museum publications, printed material, video recordings, born digital items, and photographic material.
Scope and Contents:
The Museum of Craft and Folk Art records measure 28.9 linear feet and 12.48 GB and date from 1970 to 2012. The museum was established in 1982 in San Francisco, California and exhibited local and national craft and folk art collections until it closed in 2012. The collection includes administration records, extensive exhibition files, artists' files, museum publications, printed material, video recordings, born digital items, and photographic material.
Administration records include museum bylaws, lists of early exhibitions, education program evaluations, documents related to public programs, and printed materials.
Exhibition files comprise the largest group of materials in the collection. Notable exhibitions documented include Who'd A Thought It: Improvisation in African-American Quiltmaking (1987-1988), MetalSpeaks: The Unexpected (1997), and Warren MacKenzie: Legacy of an American Potter (2009). There are also video recordings and born digital content scattered throughout the series. Though most of the material is related to the MOCFA exhibitions, there are a few files on exhibitions at other galleries and museums. The exhibition files contain a wide variety of correspondence, art inventories, price lists, printed and digital materials, guest registers, photographic materials, and video recordings, electronic discs, videodiscs, and floppy discs.
Artists' files are found for a handful of artists, including Bennett Bean, Ralph Fasanella, Bill Graham, Ron Kovatch, Mike Moran, and Salvador V. Ricalde. The files contain primarily video recordings of artist performances and interviews, but also include resumes and inquiries.
Museum of Craft and Folk Art publications consist of exhibition catalogs, newsletters, reports, and announcements. There are several video recordings of events, such as fashion shows, that were held at the museum.
Printed materials and commercial video recordings include an oversize scrapbook, binders of exhibition press clippings, and folders of clippings on various topics, as well as documentaries and news coverage of the museum.
Photographic materials consist of slides, negatives, photographs, transparencies, and a photo album. The images are of artwork, exhibition installations, events, artists, and museum offices and staff.
Arrangement:
The collection is arranged as 6 series.
Series 1: Administration Records, circa 1988-circa 2010 (0.5 linear feet; Box 1, 0.004 GB; ER01-ER02)
Series 2: Exhibition Files, 1976-2012 (22.7 linear feet; Boxes 1-24, 12.14 GB; ER03-ER50)
Series 3: Artists' Files and Video Recordings, 1983-2007 (0.6 linear feet; Box 24)
Series 4: Museum of Craft and Folk Art Publications, 1977-2012 (1.4 linear feet; Boxes 24-25, OV 31-32, 0.003 GB; ER51)
Series 5: Printed Materials and Commercial Video Recordings, 1983-2007 (2.7 linear feet; Boxes 26-28, OV 33-35, 0.050 GB; ER52)
Series 6: Photographic Materials, 1970-2011 (2 linear feet; Boxes 28-30, 0.282 GB; ER53)
Biographical / Historical:
The Museum of Craft and Folk Art was established in San Francisco, California by painter and sculptor Gertrud Parker in 1982. The museum was originally located in a house on Balboa Street and then moved to the Fort Mason Center where it operated for over twenty years before relocating to Yerba Buena Lane in 2006.
Notable exhibitions organized or held at the museum include Innerskins/Outerskins: Gut and Fishskin (1987), Who'd A Thought It: Improvisation in African-American Quiltmaking (1987-1988) which was a traveling exhibition, Folk Art of the Soviet Union (1990), MetalSpeaks: The Unexpected (1997), Emblems of Passage: Art of Africa, Oceania, and the Americas (2002), The Art of Gaman: Arts and Crafts From the Japanese Internment Camp 1942-1946 (2006), and Warren MacKenzie: Legacy of an American Potter (2009).
The museum also worked with artists on commission and regularly offered public programs, workshops, and educational outreach events for visitors of all ages. They also partnered with the website Etsy on a popular monthly "Craft Bar" series where people could gather, socialize, and create something handmade.
The Museum of Craft and Folk Art closed in December of 2012. The final exhibition was Fiber Futures: Japan's Textile Pioneers.
Provenance:
The Museum of Craft and Folk Art records were donated by Jennifer McCabe, former executive director of the museum, in 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
This series consists of personal and work-related correspondence (primarily incoming correspondence) between Cahill and various friends and colleagues. While a large portion of the series documents Cahill's position as Director of the FAP, it also extends beyond those years and illuminates other aspects of Cahill's career including his interest in folk and Asian art, and his work as an art critic.
There is significant correspondence with the artist Stanton MacDonald Wright between 1936 and 1950, and with the artist Irene Pereira between 1950 and 1953. The series also documents research which Cahill conducted in the late 1940s on the development of the Index of American Design for his introduction to a book on the Index by the National Gallery of Art, published by the Macmillan Company. Correspondence from 1949 provides another angle on the historical details of the FAP through lengthy correspondence documenting Cahill's criticism of William Francis McDonald's book Federal Relief Administration and the Arts (Ohio State University Press, 1969).
There is a large amount of correspondence from July 1960 comprising sympathy letters to Dorothy C. Miller following Cahill's death. Correspondence from 1977 encloses a catalog of an exhibition organized by New York WPA Artists, Inc., at the Parsons School of Design in November 1977. The exhibition, New York City WPA Art, was dedicated to the memory of Holger Cahill.
See Appendix for a list of correspondents (with the exception of those microfilmed on reel 1105) in Series 2
Appendix: Correspondents in Series 2:
Abbott, Berenice: 1944 (letter to the Editor)
Abbott, John: [1946]
Abell, Walter ( -- Canadian Art): -- 1943-1944 (2 letters)
Adams, Charles C.: 1940
Alcopley, Mr.: [1952] (including typescript "Pictures of Alcopley" by Saburo Hasegawa); 1953-1960 (4 letters)
Alsberg, Henry G. (Director, Federal Writers' Projects): 1936 (4 letters)
American Council of Learned Societies: 1949
American Federation of Arts: 1949-1952 (3 letters)
American Folk Art Gallery: 1941
American Heritage: 1954
American Swedish Historical Foundation: 1949
Andrews, Robert Armstrong and Eleanor: [1960], undated
Art in America: 1953
Artists For Victory: [1942]
Artists League of America: 1945
Artists Union of Massachusetts: 1936 (telegram to President Roosevelt)
Arts Council of Japanese Americans for Democracy: 1944
Ashton, Dore: [1960]
Bach, Richard F. (Metropolitan Museum): 1924 and 1950
Bailey, Herbert: 1972 (letter from Naomi Bliven)
Baker, Donald: [1936]
Baker, Jacob (WPA): 1935-1960, undated (10 letters)
Barach, Frederica (Writers' War Board): 1944
Barker, Virgil and Ida: 1945-1960 (4 letters)
Barnard College: 1951 (2 letters)
Barr, Alfred H., Jr. (Museum of Modern Art): 1935-1960 (16 letters)
Barr, Tony: 1960
Batten, Barton, Durstine & Osborn, Inc.: 1950
Baur, John (Brooklyn Museum): 1946-1960 (6 letters)
Winchester, Alice ( -- Antiques -- Magazine): 1950-1951 (6 letters)
Winser, Beatrice: 1924-1944 (6 letters)
Winter, Anna K. (antiques dealer): 1935
Wisconsin: State Historical Society of Wisconsin: 1939
Woodstock Artists Association: 1960
Woodward, Ellen S.: 1936-1938 (3 letters)
Worcester, Wakefield (architect): 1936
Wright, Russell (industrial designer): [1960]
Wyn: A. A. Wyn, Inc.: 1951
Youngerman, Jack: 1960
Zegri, Armando (Galeria Sudamericana): 1960
Zimmerman, Fred and Dorothy: [1960]
Zorach, William: 1936-1960 (3 letters)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Copy negatives
Photographs
Negatives
Place:
Hopi Indian Reservation (Ariz.)
Navajo Indian Reservation
Grand Canyon (Ariz.)
Date:
circa 1922-1934
Scope and Contents note:
Photographs made during Elizabeth Compton Hegemann's trips to Hopi and Navajo reservations in the 1920s and early 1930s. They include images of Navajo, Hopi, and some Havasupai Indians, as well as the Grand Canyon and trading posts. Her photographs relating to Southwest Indians depict agriculture, crafts, and ceremonies, including a Navaho Squaw Dance and Hopi Niman Kachina ceremonies. There are also some images of Charles F. Lummis, Earl Halstead Morris, and John Wetherill.
Biographical/Historical note:
Elizabeth Compton Hegemann (1897-1962) was born near Cincinatti, Ohio, though she spent many of her summers visiting her grandparents in Southern California. She married her first husband, Mike Harrison, in 1925 and moved with him to the South Rim of the Grand Canyon, where he worked for the National Park Service. They developed strong relationships with the Navajo, Hopi, and Havasupai Indians in that region. Hegemann separated from Harrison in 1928 and moved to Tuba City. She married Harry Rorick in 1929 and the two co-owned the Shonto Trading Post near Tsegi Canyon on the Navajo Reservation from 1929-1938.
Local Call Number(s):
NAA Photo Lot R81A
Reproduction Note:
Copy negatives made by Elizabeth Compton Hegemann.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This copy collection has been obtained for reference purposes only. Copies may be obtained from the Huntington Library.
Announcements of Rudolph Schaeffer Summer School of Design and Handicraft/Rudolph Schaeffer Crafts and Art Studio (Piedmont, Calif.), California School of Fine Arts
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rudolph Schaeffer papers, 1880s-1997. Archives of American Art, Smithsonian Institution.
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.
Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:
Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)
Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)
Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)
Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)
Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)
Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)
Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.
Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.
Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.
Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.
Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.
Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington D.C. research center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Editors -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
An interview of Wilma Harris conducted by Mary McChesney on 1964 Apr. 22 for the Archives of American Art.
Harris speaks of her background and art education at the California School of Fine Arts; the Federal Art Project weaving project in San Francisco and her involvement in it. She recalls Victor Arnautoff and Beniamino Bufano.
Biographical / Historical:
Weaver; California.
General:
The recording ends before the conclusion of the interview.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
